| “The perfect guide in a crowded musical landscape:” Online music platforms and curatorship E Barna First Monday, 2017 | 37 | 2017 |
| Dinamikus hatalom. Kulturális termelés és politika Magyarországon 2010 után E Barna, M Madár, K Nagy, M Szarvas Fordulat, 225-251, 2019 | 28 | 2019 |
| Popular music, technology, and the changing media ecosystem: From cassettes to stream T Tófalvy, E Barna Springer Nature, 2020 | 15 | 2020 |
| A rendszerváltozás utáni magyar feminista mozgalom globális, történeti perspektívából E Barna, G Csányi, Á Gagyi, T Gerőcs Replika, 241-262, 2018 | 13 | 2018 |
| A translocal music room of one’s own: Female musicians within the Budapest lo-fi music scene E Barna Made in Hungary, 59-70, 2017 | 13* | 2017 |
| Online and offline rock music networks: A case study on Liverpool, 2007-2009 RE Barna University of Liverpool, 2011 | 12 | 2011 |
| The ‘System of National Cooperation’hit factory: the aesthetic of Hungarian government-commissioned songs between 2010 and 2020 E Barna, Á Patakfalvi-Czirják Popular Music 41 (3), 333-353, 2022 | 11 | 2022 |
| “We are of one blood”: Hungarian popular music, nationalism and the trajectory of the song “Nélküled” through radicalization, folklorization and consecration E Barna, Á Patakfalvi-Czirják Journal of Contemporary Central and Eastern Europe 30 (2), 217-235, 2022 | 10 | 2022 |
| Emotional and Relational Labour in Music from a Feminist Perspective E Barna Music as Labour: Inequalities and Activism in the Past and Present, 112–127, 2022 | 10 | 2022 |
| Made in Hungary: Studies in popular music E Barna, T Tófalvy Taylor & Francis, 2017 | 10* | 2017 |
| East-Central European feminist activism in the context of uneven development in the European Union, and ways to move forward E Barna, G Csányi, Á Gagyi, T Gerőcs The Future of the European Union–Feminist Perspectives from East-Central …, 2017 | 10 | 2017 |
| Bedroom production E Barna, G Stahl The Bloomsbury Handbook of Popular Music, Space and Place, 191-204, 2022 | 9 | 2022 |
| Music industry workers’ autonomy and (un) changing relations of dependency in the wake of COVID-19 in Hungary: Conclusions of a sociodrama research project E Barna, Á Blaskó Intersections. East European Journal of Society and Politics 7 (3), 279-298, 2021 | 9 | 2021 |
| The relentless rise of the poptimist omnivore: Taste, symbolic power, and the digitization of the music industries E Barna Popular Music, Technology, and the Changing Media Ecosystem: From Cassettes …, 2020 | 9 | 2020 |
| Curators as Taste Entrepreneurs in the Digital Music Industries E Barna Popular Music in the Post-digital Age: Politics, Economy, Culture and …, 2018 | 8 | 2018 |
| Researching popular music and the rise of populism in Europe M Dunkel, M Schiller, A Schwenck XX Biennial IASPM Conference: Turns and Revolutions in Popular Music Studies …, 2021 | 7 | 2021 |
| Popular music as a medium for the mainstreaming of populist ideologies in Europe M Dunkel, E Barna, M Caiani, A Doehring, M Niederauer, M Schiller Research Project (Full Proposal) financed by Volkswagen Foundation, Ref 94 …, 2018 | 7 | 2018 |
| Változás és kontinuitás egy budapesti underground zenei világban a műfaj-esztétika, ízlés, technológia és alkotómunka viszonyrendszerén keresztül E Barna Társadalmi Nemek Tudománya Interdiszciplináris eFolyóirat 7 (1), 1-21, 2017 | 6 | 2017 |
| The future of the European Union: Feminist perspectives from East-Central Europe E Kováts Friedrich-Ebert-Stiftung, 2017 | 6 | 2017 |
| “There are places I’ll remember…”: A Sense of Past and Locality in the Songs of the Beatles and the Kinks E Barna Accès: http://iipc. utu. fi/overground/. Consulté le 31, 10-12, 2010 | 6 | 2010 |
Agnes Patakfalvi-CzirjakBudapest University of Technology and Economics, Faculty of Economic and Social Sciences, SociologyPatvirtintas el. paštas gtk.bme.hu
